Kisaha

There is a another rumour circulating of an R8..similar specs but a simpler 30mpxls sensor..
It seems that there are two cameras coming soon, an R replacement (it could be the R8 with the R sensor but various impovements all around) and an R6mkII with the sensor as the biggest - and very welcomed - difference, but probably other faster and/or more modern internals that will make it a better camera altogether.
Price is very important also, if they could keep it close to R6's money that would make it a hit camera.
To be completely honest, I was expecting the R6mkII to move to RF full frame, so I am quite excited about this rumor. Of course the devil is in the details and those details could make or brake this release. It could be only the sensor and maybe the processor, but also a myriad other little impovements; or not!
As of our friend @tomastancredi, it would be a pity that you are going to miss the R replacement just for a month or so..
If you want something fast and with amazing battery life, the R7 is a very honest choice and for a very good price.

I just copy pasted the rumor, but because I have the Umbrella Academy power of making lies become the truth, it may will happen!
@tomastancrediyou ask about the camera, but I ask about your lenses. We all know here that the most important aspect on a system is the lenses we own.
Are you going to sell your lenses and move to Panasonic?

.. an older sensor perhaps but not a 6 year old sensor, that's ridiculous. even canon are smarter than that.
as for the R6, I've been shooting with it for some time now, and its a very good all-rounder (basically a 1DX3 in RF mirrorless form). It shoots 5.5K oversampled footage, has DPAF2, can do up to 4K60p no crop in 10-bit 422 which the A7IV can't even do. CLog/Clog3. The only downside is RS & overheating. If the new sensor/processor fixes those I'd upgrade in a heartbeat. Would be nice to see a couple extra things like 4K120p or RAW but that would probably steal too much from R3/R5.
 

I heard a rumor that..
Canon R6 Mark II Leaked Specification
24mp Full-frame CMOS Sensor
Dual Pixel RAW / RAW burst
Dual Pixel CMOS AF
In-body stabilization
Digital Tele-Converter
12fps Mechanical
Hybrid Auto
4K 30p (No Crop)
4K 60p (Cropped. The EOS R6 is a 1.1x crop)
Canon Log 3/HDR PQ
Cloud RAW processing
RF/RF-S Lenses
SD/SDHC dual card slot
Not much change in the form factor over the original EOS R6
The Canon R6 will use the same stacked sensor we have seen in the Canon R3 camera. The camera announcement is expected first half of 2023.

I probably draw the line around 600-800 mbps, which would be 4.5 to 6GB per minute.
I prefer BRAW whenever possible - better than ProRes RAW - and of course it's internal on my BMPCC 6K Pro and BMPCC 4K. I generally shoot Q5 on both, which can average around 5-7GB/min on the 6K and about 2GB/min on the 4K. If I'm doing something that needs green screen work or anything like that, I might shoot Q1 on the 6K, which is a whopping 11-12GB/min or Q0 on the 4K which is about 8GB/min. But that's better than ProRes 422 HQ which is 7GB/min on the 4K.
I reviewed the GH6 recently and while ProRes is a great feature to have, it takes up a ton of space, especially if you shoot the open gate 5.8K. Much prefer to just shoot 200mbps H.265 LongGOP (in 5.7K DCI or 5.8K open gate), which is a lot nicer than ProRes 422 HQ which clocks in at 1522mbps (both 23.98p). For 4K DCI I would use the 400mbps All-I H.264 4.2.2 - I wish Panasonic had at least offered H.265 All-I 4.2.2 for the 5.7K DCI and 5.8K open gate, instead of just 4.2.2 All-I ProRes. Supposedly they did this since H.265 is heavy on computers, but my Mac Studio can easily handle it - even my Mac Mini M1 doesn't have a problem with it.
For me, I use BRAW whenever possible. It's the best compressed RAW codec out there outside of REDCODE RAW. Smooth as butter to edit and of course seamless integration with Resolve. CinemaDNG provides little benefit for me and produces massive files that are simply unwieldy to deal with.
ProRes is more of the a convenience thing than an actual efficient codec. It just works smoothly on a lot of computers without top of the line specs, but once you get beyond 1080 HD, it becomes simply too much storage.
I edit off a few SSDs in RAID 5 configuration, then I have some regular HDDs in a NAS for archival storage.
Hopefully more compressed RAW options open up in the near future once RED loses their patent in this Nikon suit - at least that's what I predict will happen. It will also be hilarious to me if Nikon, the company that has historically never cared about video or filmmaking, is the one to invalidate their stupid patent.
(keep in mind, everything I shoot is narrative film, so high-quality video is necessary - so I'm willing to tolerate higher bitrates, though not excessively so)

that use to be the case but I think since the C200, FS5 and now BM6K Pro, C70 or even FX6, that is no longer the case. They have great battery life so you can stay away from Vmount. Built-in NDs mean you can avoid a matte box. And stellar AF avoids the need for a follow focus rig. A lot of DPs do love to over rig their cameras and that's fine, just not my ethos. I usually strip them down to the bare minimum, I like fast energetic shoots to keep the momentum going. Obviously you can't do that with URSA Mini, RED & ARRI. You need a crew if you wanna be comfortable. Different scenarios. Different applications. Different results also.
Sony is definitely cornering the market, mostly in broadcast. A friend of mine just joined one of the biggest TV shows for fashion & music and told me it's all Sony now. Used to be AMIRA up until just a year ago. I'm not sure why they switched but could be weight related as he told me they alternate a lot in between sticks and shoulder rig. Or did they go FF? I hope to go visit the studios and find out more.
Fuji are killing it, and XH2S would also be my first choice today for personal camera and pet projects. But with no real upgrade path, limited ecosystem & outsider reputation.. Sony does feel like the best system right now as far as getting pro work in the industry. I still prefer Canon colors, ergonomics etc but their pricing isn't very competitive neither in pro bodies or RF lenses and their politics are lousy at the moment, they need a change in CEO or something.

R7 with Viltrox Speedbooster and the Ef 24-70 f4 lens at night.
 

There's a time and a place for everything, right? 
For instance, my family just got word that my 20 year old nephew has Hodgkin's--Anyone telling my family they can't "discern" things, for whatever reason, would be rather unwelcome.
Please, let's all try to be kind, empathetic, and aware.

Ha yes couldn't make it  through that film, was such a disconnect between the characters and their environment - reminded me of the early days of the 5d mk2 when everyone was filming everything wide open - just because you can doesn't mean you should

And the film suffered because of it, I think. Sorry, just had to say it! 

I shoot on both Canon & Sony systems. It's a tough call and does come down to personal preference. 
I favour Canon for camera ergonomics, UI, AF (both in stills & video), colours (especially skin tones).
Lens wise, I find EF glass has more mojo (I just love my 35mm F1.4 L & 50mm F1.2 L). But I also love my Zeiss Batis primes that are more compact. RF has some amazing glass also, and even the affordable STM line is really good (I think I'll go for the 24mm & 85mm STM next). Lenses is really what ties you to a system so don't underestimate that aspect!
Now specifically when comparing A7S3 to R5, well R5 does have 45MP stills, 8K, oversampled 4K & internal RAW.
A7S3 has non oversampled 4K, only 12MP stills & a lot of NR at high ISO.. but better DR & less RS. 
The lowlight used to be where A7S series killed it but that's not the case with A7S3 since it is in fact a 48MP quad bayer sensor. Also the 1:1 4K doesn't allow super35 crop or focus breathing compensation. Bummer.
4K120p I dunno, it looks great on the R5 but haven't A/B it with A7S3. 
I think with 1.6 R5 wins on overall specs but if you really need that extra DR, super low RS & better 4K120p then it might tilt you over. Both I think are mirrorless workhorses.
Sony colours have become much much better than in previous generations but I still find myself spending way more time in Resolve adjusting footage than with Canon where I pretty much can just slap a custom LUT and it looks simply amazing. Especially skin tones. To me this is a MAJOR advantage for Canon.

XH2 first impressions vs Lumix S1R
Nice semi matte paint job and build quality initially seems around comparable.
Not that much smaller but considerably lighter with equivalent lens.
I weighed them both with battery, cards and 24-105mm f4 Lumix and Tamron 17-70mm f2.8 (25-105 equiv) and the difference was exactly 505g, ie, 1/2 kilo or basically 1lb difference.
Handling/ergo-wise, the S1R takes all my fingers around the grip but the XH2, just 3 so for me needs either something like a Smallrig L bracket or battery grip.
As things stand, I still have to test the thing for photo & video but all things being well, this would become my prime stills workhorse and I think I’d go for the battery grip as it would bring the weight up to more or less the the same as the S1R, albeit physically bigger but with at least double the battery life.
I was looking at the Nikon Z9 so the battery gripped XH2 could be looked at as the poor man’s Z9. And actually available to buy!
I will do some video (and stills) tests over the coming weeks but looking good so far…

That was a good thread!
Hope we will see some action here again.

Lucky the camera industry is not French…
The cameras would have a styling circa 1950’s (not necessarily a bad thing) but would randomly go on strike, the manual could only be provided as a (thick) paper document (and you would have to apply in person 2 hours from your home and wait at least 6 weeks for it to arrive) plus would have a permanent whiff of garlic/gauloises in the hard bakerlite shell.
And only shoot B&W.
All models would be called ‘Le De Gaulle’ and we would currently be on the LDG7, the 7th model since the first as new models are released with marginal ‘upgrades’ every decade.

Bumping this thread because this one got me too.
Adorama back at it with some randomly cheap Nikon F glass.
Sigma art 28mm 1.4 Nikon F mount for $399
https://www.adorama.com/sg2814nk.html

Solution: move to New Zealand! (or anywhere really in the Southern Hemisphere) 
  
 
Great setup!
If only the FX30 had eND, then I'd love that with a Tamron 17-70

There are 2 threads for this camera. Can we decide which one to follow guys?
I am going back and forth, and I do not remember where I read what and what I have replied when and where!

Having great SOOC results is the bomb! I remember when I did some weddings in the past I was shooting mostly RAW, which was a post production nightmare..I was planning to go SOOC just before I quit that business..
33?!? Wow! If you need any help call me, 23 years of experience, lots of equipment and positive attitude, have lived in France before..ha!

@MrSMWall brands offer solutions these days. For the very first time I believe Fuji offers the complete package.
Zoom lenses really help, my workhorse was the 16-50mm NX for many years. Stabilized and 2-2.8mm, and were using another body (or two) with primes for more "artistic" approach (so I was getting the expected and usual stuff with the zoom and at least a prime for more artistic portraits).
I would give a look at that special 18-120mm video lens they did, and beware of the 17mm wide end that is 26+mm equiv. I found those couple mm at the low end of the zoom very important for all around lenses..I would take a 16mm from a 17mm, but the Tamron is a great performing test, as it seems.
The 10-24mm and the 16-80mm are also interesting for me.
11 edtitings behind is not that bad! Congrats!

@MrSMWall brands offer solutions these days. For the very first time I believe Fuji offers the complete package.
Zoom lenses really help, my workhorse was the 16-50mm NX for many years. Stabilized and 2-2.8mm, and were using another body (or two) with primes for more "artistic" approach (so I was getting the expected and usual stuff with the zoom and at least a prime for more artistic portraits).
I would give a look at that special 18-120mm video lens they did, and beware of the 17mm wide end that is 26+mm equiv. I found those couple mm at the low end of the zoom very important for all around lenses..I would take a 16mm from a 17mm, but the Tamron is a great performing test, as it seems.
The 10-24mm and the 16-80mm are also interesting for me.
11 edtitings behind is not that bad! Congrats!

Having great SOOC results is the bomb! I remember when I did some weddings in the past I was shooting mostly RAW, which was a post production nightmare..I was planning to go SOOC just before I quit that business..
33?!? Wow! If you need any help call me, 23 years of experience, lots of equipment and positive attitude, have lived in France before..ha!

33 weddings/couples, spread over 70 days (as most of my events are multi-day coverage. In fact, only 4 single day out of those 33) and all except one single photo only coverage, full photo and video.
Only 11 weddings behind on my editing 🤪 
Thanks for the offer of help but I’m a one man band in house ‘everything’ kind of guy.
One of the reasons I am moving away from L Mount. The quality is arguably marginally higher, but it’s the rest of the equation after 2 years and approx 40 jobs has confirmed I haven’t quite had the right tools for the job.
Just had a long 4 hour drive over to this last 3 day event of the season and have pretty much decided to simplify things further by going all zoom despite being a prime guy at heart.
There’s a fine line between the ‘artistry’ and the logistics of it and I think my tool plan is a good one for me:
XH2 primary stills (but some limited video use) with Tamron 17-70.
XH2S primary video with Fuji 16-55.
XH2S secondary video + gimbal with Fuji 18-55.
Had both of those Fuji lenses previously and they were great. 
Slightly less keen on the 18-55 being variable aperture but I think Sigma are going to be making their 18-50 f2.8 (currently Sony & E Mount) for Fuji so that may be an option…
I am going to Winter with just the XH2 and Tamron and not fully commit until the Spring but right now this Fuji route us my best option.
We’ll see but once I have committed, I’m aiming for 3 years unchanged after 3 highly disruptive and complicated years!

Yeah, I didn't realise that there was already a thread on it.  Let's use the other one.
Handy hint - if you use the + button to multi-quote and then browse to another thread you can quote posts from the original thread in the other one, should that make sense.

It's all a matter of taste of course but I love Fuji colour.
I moved from shooting Natural to Flat on my Panny's but was a big fan of Eterna on the XT3.
Going back to that as my standard but this time around, with a very light Film Convert Nitrate grade.
Also interested in going back to shooting Jpeg and one of the film sims.
I used to to shoot mainly Classic Chrome, but am interested in Classic Neg and Nostalgic Neg, all with some personal in camera tweaks to see if I can achieve a SOOC near finished result.
Along with drastically cutting back my number of jobs (33 this year) and capping at max 20 per annum, I'd like to get my workflow reduced so I can spend a little more time on marketing.
No issues with bookings but I think you need to remain on top of these things regardless and even do a little more than is needed, simply to hold station.
Also, I'd just like a little more life back May-Sep which is something I haven't had much of for the last 20 or so years...
 

I agree with most of your points, but this one right here is precisely why this camera is very exciting for many people. Pretty remarkable camera for the price—a worthy upgrade for many APS-C Sony shooters, a great B cam for FF Sony shooters, and most importantly a gateway camera to get people into the Sony product pipeline all the way up to Venice.